During Winter NAMM 2017, I started connecting the dots on the family tree for most my instruments. I came up with this; Ned Steinberger designed most of the bass gear I lay my hands on; my Spectors and the NS strings that I use. He also quite indirectly caused the opportunity for Warwick amps to be brought about (which I also endorse and use). Ned designed the distinct Spector body shape, and then Warwick was founded on being able to market basses with that design in Europe when Spector could not sell there (follow the hyperlink to see more of the details of that). As Warwick has grown they’ve spun off other product lines such as their Hellborg and LWA amps, which I play and use.
Now, obviously, there are a TON of other people involved in creating my gear…company owners, manufacturers, engineers, and the craftspeople who build, design and service the gear. So I don’t want anyone reading this to think that I’m overlooking any other very KEY players in the family tree. I’m not implying that at all. And there are other companies I endorse and greatly appreciate that don’t connect back to Ned, like Willcox Guitars. But it is interesting that one person and the creation of a specific bass body design kept coming up as an origin point that caused other events in the family tree. Those events connected most of my personal cartage of amps and instruments.
NS sent a prototype EUB last summer for me to try out. It was at my studio long enough for me to use it on a gig and for some teaching, and then I sent it off to another NS artist so they could provide feedback as well.
Afterwards, it was very cool to talk with him about the instrument and give him feedback. No joke…he really is always thinking on new ideas to move the game forward.
I saw this first interview show up on social media this week. I’ve added an older interview that is much more in depth. In the second interview, it is great to hear Ned say what I’ve been thinking all along; peg style tuners on acoustic instruments are primitive as hell. And lack precision. I seriously laughed out loud at that statement while watching this interview. Seriously, why are we still having to buy peg drops in 2018? I commute to work in Richmond with an electric cello and my electric upright bass because it’s beyond annoying to deal with pegs (and instruments) that become temperamental when it’s too cold or too hot. Thank you for stating what seems obvious, at least to me.